Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘Ninu Majumdar


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4993 Post No. : 16888

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Blog 10-Year Challenge (2012-2022) – Song No. 33
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This date ten years ago, viz 20 March 2022 saw as many as six songs from six different movies getting covered. Here are the details:-

Blog post number Song Movie (Year) Remarks
5660 Ghabra ke jo ham sar ko Mahal(1949) Movie YIPPEED by now
5661 Manzil to hai badi door Bhai Sahab(1954) 7 songs covered out of 10 by now
5662 Mausam e bahaar yaar Sargam (1950) Movie YIPPEED by now
5663 Pad gaye jhoole saawan rut aayi re Bahu Begam(1967) Movie YIPPEED by now
5664 Main to baanke nainon waali Chhoomantar(1956) Movie YIPPEED by now
5665 Main teri Heer hoon teri taqdeer hoon Raftaar(1975) Movie YIPPEED by now

Five movies (out of six) whose songs were discussed on that date have since been YIPPEED. That leaves us with just one movie that is not yet YIPPEED and so is eligible for blog ten year chllenge today (20 March 2022).

That movie is “Bhai Sahab”(1954). It was directed by Ravindra Dave for Pancholi Productions, Bombay. The movie had C.H.Atma, Purnima, Smriti Bishwas, Ratan Kumar, Jagdeep etc in it.

The movie had ten songs in it. seven songs have been covered in the past.

Here is the eighth song from “Bhai Sahab”(1954) to appear in the blog. The song is sung by C H Atma. Shailendra is the lyricist. Music is composed by Ninu Majumdar.

Only the audio of the song is available. It is clear that the song was picturised on C H atma himself who was a die hard K L Saigal follower and this movie was his attempt to keep making movies in K L Saigal style. Hindi movies by that time had moved on from Saigal era. It was the last such movie with K l Saigal style songs.

Lyrics of this song were sent to me by Prakashchandra.


Song-Duniya tere rang niraale (Bhai Sahab)(1954) Singer-C H Atma, Lyrics-Shailendra, MD-Ninu Majumdar

Lyrics(Provided by Prakashchandra)

tere rang niraaley
duniyaa..aa tere rang niraaley
apni buraayee dekh sakey na aa aa
apni buraayee dekh sakey naa
auron ke dosh nikaaley
duniyaa aa tere rang niraaley

hamrey sukh mein aen sog manaayein aen aen aen
hamrey sukh mein aen sog manaayein
dukh mein dekhey tamaashaa aa aayye
dukh mein dekhey tamaashaa aa aan..aa
aastheen mein chhupke baithhey
dasney waaley ???
dasney waaley ??
duniyaa..aa tere rang niraaley
duniyaa..aa tere rang niraaley

mann mein aag nain mein aansoon
phir bhi hansnaa howey aey ae aey
phir bhi hansnaa howey ae
raaton ke sooney aanchal mein
premee kaa mann rowey
taaron kaa dil baithhaa jaaye
taaron kaa dil baithhaa jaaye
aah bharey ae andhiyaarey
duniyaa aa tere rang niraaley
duniyaa aa tere rang niraaley


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4835 Post No. : 16618

koi aaghe aaghe thhi venu vaay chhe

Thus sang the Nightingale of Gujarat, Kaumudi Munshi, who is regarded as the pioneer in popularising the semi-classical non-filmy songs in Gujarati.

Today, October 13, 2021 is first Remembrance Day of vocalist, Kaumudi Munshi, the Gujarat Kokila who regaled her Gujarati admirers spread all over the world with her beautiful renditions of semi-classical non-film songs. She sang in the genres of bhajans, ghazals, thumris, dadras and other forms of ‘sugam sangeet’ in Gujarati and Hindi for over 6 decades.

I had watched the videos of the facilitations to Kaumudi Munshi on the occasion her 90th birth day, held sometime in 2019 during which she also rendered a few of her popular non-film songs. She looked hale and hearty even in her 90s with clear diction. Unfortunately, she became one of the victims of Covid and left for her heavenly abode in the early morning of October 13, 2020 at the age of 91. Aakashvaani, Rajkot paid a special tribute to Kaumudi Munshi by playing some of her non-filmy Gujarati songs on the same day.

Kaumudi Munshi (1929 – 13/10/2020) was the sixth child of Kunwar Nandlal Munshi and Anuben Munshi, born in Varanasi in a landlord family. Her forefathers belonged to Vadnagar in Gujarat but they had settled in Varanasi 6-7 generations back. Hence the family members mostly spoke in Hindi. Because of the servants in the house who spoke in Awadhi and Bhojpuri, she was proficient in speaking these dialects also.

From the childhood, Kaumudi was exposed to classical music as there used to be regular musical soirees in her house. After completion of graduation in music from Banaras Hindu University in 1950, she came to Mumbai where her brothers were settled. Her maternal uncle and Gujarati laureate, Ramanlal Desai and his son Akshay Desai helped her in pursuing a career in music. Akshay Desai taught her Gujarati in which she was not proficient due to her upbringing in Varanasi.

After passing the audition test, Kaumudi Munshi joined All India Radio (AIR) as a singer in 1951. Starting as a chorus singer, she graduated to singing solo songs on AIR, mostly composed by Ninu Mazumdar, the music director of Hindi films of 40s and early 50s who was also a music producer in AIR. This relationship developed into her marriage with Ninu Mazumdar in 1954.

Generally, training for vocalists in classical music starts in the childhood so that by the time, they attain adulthood, they are well trained to perform as concert vocalists. But in the case of Kaumudi Munshi, though she was interested in classical music, her family did not encourage her as singing was not regarded as honourable career for a girl. However, after the marriage, Ninu Mazumdar encouraged her to take a formal training in Hindustani classical music as a vocalist. She had two options to take training – Siddeshwari Devi, the thumri queen and Begum Akhtar, the ghazal queen. Kaumudi Munshi chose Siddeshwari Devi over Begum Akhtar purely from the logistic point of view as the former was staying in Varanasi and Kaumudi had the parental house in Varanasi.

During 1955-60, Kaumudi Munshi mostly stayed in Varanasi for her training and accompanied Siddeshwari Devi on her concerts and the music conferences. Later, she also took training from Ustad Taj Ahmed Khan for ghazal singing.

After returning to Mumbai in early 1960s, she concentrated on singing thumri, dadra, ghazal, bhajan, and folk songs mainly from Uttar Pradesh and Gujarat. Most of her songs were composed by her husband, Ninu Mazumdar though she also worked with other music director like Avinash Vyas, Dilip Dholkiya, Ajit Merchant etc. She sang semi-classical songs mainly in Gujarati and Hindi Probably, Kaumudi Munshi may be the first to popularise the Hindustani semi-classical songs in Gujarati. She also composed and sung children’s songs both in Hindi and Gujarati.

Kaumudi Munshi’s association with Hindi films was very limited. It started and virtually ended in 1954 with two films – ‘Bhai Saheb’ (1954) and ‘Teen Tasveeren’ (1954) for which her husband, Ninu Mazumdar was the music director. The reason was that she started singing in Hindi films only after her marriage with Ninu Mazumdar in 1954. In the same year, she left for Varanasi to be the disciple of Siddeshwari Devi. After her return to Mumbai in early 1960s, she and her husband concentrated on non-filmy semi-classical and folk songs though she sang in two Hindi films, ‘Shola Aur Shabnam’ (1961) and ‘Raja Aur Rank’ (1968) besides singing a song in a Bhojpuri film ‘Bidesiya’ (1963).

On the occasion of the first Remembrance Day of Kaumudi Munshi, I have chosen one of her songs from the film ‘Teen Tasveeren’ (1954). The song is ‘kar ke singaar chali, saajan ke dwaar chali’. The song is in two parts. The part of the song sung by Kaumudi Munshi and chorus is written by Prem Dhawan while remaining part-1 and the full pat-2 of the song sung by Ninu Mazumdar is mainly based on Sant Kabir Das’s nirgun bhajan.

‘Teen Tasveeren’ (1954) was a very obscure film with not so well-known cast. I have no idea about the story of the film. Hence, it is difficult to know the context in which the song under discussion was picturised. What I can surmise is that while the first part of the song rendered by Kaumudi Munshi and Chorus is pre-wedding ‘bidaai’ song, the part of the song sung by Ninu Mazumdar which continues in Part-2 is, in the broader context of ‘bidaai’ from this world. In a way, part-2 of the song is philosophical. The word, ‘saajan’ has been used metaphorically to mean the Lord of the universe in Ninu Mazumdar’s version.

The broad meaning of the Ninu Mazumdar’s version of the song is as under:

O clever woman, be ready with make-up and the best dresses. You have to go to the God’s house. Do wash, bathe and braid your hairs. There is no returning from God’s house where the shroud will be of earth; the bed will be of earth and thus you will have to get united with the earth.

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Note: The life sketch of Kaumudi Munshi is based on https://www.kaumudimunshi.com/about.html and the video of her interview taken in Gujarati on the occasion of her 90th birthday celebration.

Audio Clip (Parts-1&2):

Song-Kar ke singaar chali saajan ke dwaar chali (Teen Tasweeren)(1954) Singers-Kaumudi Munshi, Ninu Majumdar, Lyrics-Kabeer, MD-Ninu Majumdar
Chorus

Lyrics

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Part-1
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kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
chhanan chhanan mori ghunghroo baaje
jhanan jhanan paayaliyaa re
jhanan jhanan paayaliyaa
chhanan chhanan mori ghunghroo baaje
jhanan jhanan paayaliyaa re
jhanan jhanan paayaliyaa
sanan sanan gaaye re pawan ghan
ghanan ghanan baadaliyaa
sanan sanan gaaye re pawan ghan
ghanan ghanan baadaliyaa
o o o o o o
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li

dhin ta thai thai
dhin ta thai thai
dhin dha ki ta dhaki ta dha
dhin ta thai thai
dhin ta thai thai
dhin ta thai thai
dhin dha ki ta dhaki ta dha
dhaki ta dha
ta thai thai

gori teri saajan kaun albela
khel kahaan preet ka khela aa
gori teri saajan kaun albela
khel kahaan preet ka khela

o o o o o
mujhse na poochho
poochho in nainan se..ae
jaane ye kya kah baithe ae saajan se
thhaam ke mori bainyyaan
chupke se bole sainyaan
thhaam ke mori bainyyaan
chupke se bole sainyaan
ab raha jaaye na akela
o o o o o o
saj dhaj ke naar chali
ban ke bahaar chali
chatura albe..li
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li

kar le singaa….ar
chatura albeli ee ee
saajan ke ghar jaana hoga
kar le singaa….ar

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Part-2
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kar le singaa….ar
chatura albeli ee ee
saajan ke ghar jaana hogaa
kar le singaa…aar

naha le dho le
sheesh gunthha le
naha le dho le
sheesh gunthha le
phir wahaan se nahin aana hogaa…aa
saajan ke ghar jaana hogaa
kar le singaa…ar
chatura albeli..ee ee
saajan ke ghar jaana hogaa
kar le singa….ar

mitti odhaawan mitti bichhaawan
mitti odhaawan mitti bichhaawan
mitti mein mil jaana hogaa…aa
mitti mein mil jaana hogaa
mitti mein mil jaana hogaa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4808 Post No. : 16576

Few days back, I came across an obscure song rendered by Janardan Tanjorkar from the film ‘Kuchh Naya’ (1948). The surname ‘Tanjorkar’ sounded odd to me. It was apparent that Janardan was from Tanjore (now Thanjavur). But why did he use a Maharashtrian sounding surname? Was he a Maharashtrian whose family migrated to Thanjavur during the reign of Marathas in the 17th and 18th centuries? A search on the internet revealed a very interesting family background of Janardan Tanjorkar.

Janardan Tanjorkar (1913-1980) was born in Baroda (now Vadodara) to Devdasi Kantimathi Amma and Appaswamy Pillai. Kantimathi was a Bharatnatyam dancer attached to Brihdhiswara temple in Thanjavur and her husband, Appaswamy Pillai was the Nattuvanar, a kind of a Guru and a Choreographer who accompanied the devdasi dancers as a dance master, the music conductor and the vocal percussionist. Janardan got his initial training from Kumbakonam Narayanswamy Iyer and Palghat Mani Iyer and learnt Mirdangam and Carnatic vocal.

Sometime in 1880-81, a troupe of two devdasi Bharatnatyam dancers, along with two Nattuvanars and musicians were sent to Baroda as a part of dowry during the marriage of Princess Chimanabai (born Laxmibai) of Thanjavur with Prince Sayajirao (III) Gaekwad of Baroda. Kantimathi Amma as a Bharatnatyam dancer and her husband, Appaswamy Pillai as Nattuvanar joined the troupe after a couple of years as replacement for an earlier dancer and Nattuvanar respectively. Kantimanthi and her cousin, Gowri performed the Bharatnatyam dance in the court of the Maharaja of Baroda on Wednesdays and Saturdays. That was the beginning of introducing Bharatnatyam outside the Madras Presidency to the western and later to the northern India. In Baroda, Appaswamy Pillai adopted the family name of ‘Tanjorkar’ in keeping with the Maharashtrian tradition.

In Baroda, Janardan Tanjorkar learnt violin and became a violin player in the court of the Maharaja of Baroda. Here, he came into contact with Ustad Faiyyaz Khan, a Hindustani classical vocalist with Baroda court who trained him as a Hindustani classical vocalist. Janardan also learnt playing other musical instruments like Saraswati Veena while in Baroda. Over a period of time, he learnt both Carnatic and Hindustani classical music and became experts in playing multiple musical instruments.

Janardan Tanjorkar moved to Mumbai sometime during the second half of 1940s and became a graded artist of All India Radio as a violinist and vocalist. He also taught violin to music students and accompanied the Bharatnatyam dancers as a violinist.

Janardan’s younger brother, Kubernath Tanjorkar was an exponent of Bharatnatyam and became Nattuvanar in the court of Maharaja of Baroda. Later, he was appointed as the Professor of Dance at the Faculty of Fine Arts of Maharaja Sayajirao Gaekwad University, Vadodara. After retirement, he established Tanjore Dance Music and Art Research Centre in Vadodara, Presently, his third generation is involved with the propagation of Bharatnatyam and Carnatic music at this centre.

Janardan Tanjorkar had three sons and five daughters. All the three sons – Venugopal, Shekhar and Dayanand are based in Mumbai and are connected with Bharatnatyam dance and music. His grand-daughter, Dr. Madhu Tanjorkar (daughter of Shekhar), is a solo violinist and vocalist, both in Carnatic and Hindustani classical music. She has taken Bharatnatyam and the classical music to Manchester and the northern part of the UK where she runs music schools besides participating in concerts in India and abroad.

This is an unique case where a dowry in the form of Bharatnatyam dance troupe resulted in the propagation of Bharatnatyam and Carnatic music, probably for the first time outside the then Madras Presidency in Vadodara. The troupe created the Thanjavur legacy of Bharatnatyam dance in the pure traditional form in the midst of a different cultural setting.

Janardan Tanjorkar had shifted his base in Mumbai during the second half of 1940s. However, it seems, he had no interest in singing in films. The only film song he sang during his life time was in ‘Kuchh Naya’ (1948). Probably, Ninu Mazumdar, the music director of the film knew Janardan as both were associated with All India Radio, Mumbai.

‘Kuchh Naya’ (1948) was produced by Kantilal Acharya under the banner of Shanti Pictures and was directed by Ninu Mazumdar who also wrote the story and was also the music director for the film. The star cast comprised of mostly newcomers with Sudha Rao and Ramesh Arora in the lead roles. They were supported by Ramesh Sinha, Purnima Chowdhary and Dube. It was a maiden film for Kantilal Acharya as a producer, Ninu Mazumdar as a director, Ramesh Arora and Purnima Chowdhary as actors.

I have no idea about the story of the film. As per the report on Filmindia magazine, the film was privately screened in August 1948 for Morarji Desai, the then Home Minister of Bombay State and other dignitaries. The home minister had congratulated the producer for the novelty of the theme. In the absence of the film, it is difficult to know as to what was the novelty in the story of the film. The title of the film would, however, suggest that the theme of the story may be something to do with the fresh thinking for the people of the post-independent India as to how to move forward to rebuild India.

The film had 10 songs of which one song has been covered on the Blog. Except for two songs – one each accredited to Meerabai and Amir Khusrau, the lyricist/s for the rest of the songs are not known. I am presenting the second song, ‘aisa desh hamaara santon’ rendered by Janardan Tanjorkar to appear on the Blog. The song is set to music by Ninu Mazumdar. From the lyrics of the song, iI guess it to be a background song.

Acknowledgement: The information on Janardhan Tanjorkar and family for the article is sourced from:

1. madhutanjorkar.wixsite.com

2. sangeethas.wordpress,com

3. Tanjore Dance Music and Art Research Centre

Audio Clip:

Song-Aisa des hamaara santon (Kuchh Naya)(1948) Singer-Janardan Tanjorkar, Lyrics-Unknown, MD-Ninu Majumdar

Lyrics

aisa des hamaara..aa
san n n ……ton
aisa des hamaara
aisa des hamaara
aisa des hamaara
santon
aisa des hamaara jee..ee
aisa des hamaara

ved kitaab jahaan nahin pahunche
ved kitaab jahaan nahin pahunche
kahat sunat se(??) nyaara
santon
aisa des hamaara jee..ee
aisa des hamaara

jaat varan kachhu
priya aa naahin
?? sandhya ?? man ??
jaat varan kachhu
priya aa naahin
?? sandhya ?? man ??
bin baadal kya bijli chamke
bin ravi ?? ujiyaara
aisaa..aa des hamaara…aa
san n n ……ton
aisa des hamaara


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4805 Post No. : 16573

‘Main Kya Karoon’ (1945) was produced under the banner of Flora Films and was directed by Sudhir Sen. The star cast included Suraiya, Hansa Wadkar, Pahadi Sanyal, Bikram Kapoor, Anil Kumar, Agha, Shah Nawaz, E Billimoria, Gulab, Cuckoo, Sunetra, Motibai, Ratan Piya etc. The film was released on July 12, 1946.

It is interesting to note from the advertisement of this film (which I have included in the video clip of the song) is that Cuckoo’s name appears in the cast list as ‘Kukoo’. The name of the dance director, ‘Prof. More’ appears prominently in the advertisement which is bolder than that of names of the supporting actors like Pahadi Sanyal, Shah Nawaz etc. I guess, ‘Prof. More’ is the same person as K S More (also spelled as ‘Moray’ or ‘Morey’) who was also the Dance Director to whom Cuckoo had married.

‘Filmindia’ in its October 1946 issue, had written a favourable review. While noting that the film had an usual story of a marriage tangle, the review had commended the work of the dialogue-writer in making an ordinary story into a fast-paced narratives thus sustaining the audience interest in the film. The gist of the story is as under:

Two head-strong fathers (Shah Nawaz and Bikram Kapoor) get their boy and the girl married in their childhood. Soon the fathers start quarrelling eventually cutting off their relationship. The girl comes back to her father house.

Both the boy and the girl lose sight of each other over a period of time. They have grown up in their own environments. One day both of them meet each other without knowing that they were married in their childhood. The hero (Agha) falls in love with the heroine (Suraiya) who is a bit hesitant because she thinks that she was a child widow. However, the hero convinces her for the marriage.

In the meanwhile, there is another development. The hero’s friend is in love with his sister (Hansa Wadkar) who is the friend of the heroine. Multiple misunderstandings develop between all the four main characters resulting in some humorous situations. Finally, the marriage tangle is solved to the satisfaction of all.

The fact that the film was released on July 12, 1946 and the review was published after about 3 months indicates that the film must have run for at least 3 months.

‘Main Kya Karoon’ (1945) had 8 songs – written by D N Madhok (7) and Rammurti Chaturvedi (1) which were set to music by Ninu Mazumdar. The Blog has so far covered 5 songs from the film. I am presenting the 6th song, ‘baamna ki chhori dil le gayi, baniye ka poot jiya le gaya’ rendered by Ninu Mazumdar and Hamida Bano. The song is written by D N Madhok.

This is a love song as a tete a tete between lovers in which there is a bit of teasing as well as the assessment of the then prevailing situation in India where inter-caste marriages were frowned upon. The boy admits that his heart has been taken away by a daughter of a brahmin. The girl retorts that her heart has been taken away by a baniya’s (trader’s) son. Then they talk about how they lost their heart to each other. The girl says that her beloved’s magical eyes, his fair complexion and smiles cast spell on her. The boy reminds his beloved that they have yet to cross the stumbling block of the respective families as both of them belong to different castes. The girl is confident that more than the caste and the family, it is the mutual love for each other that matters the most in the marriage.

I heard this song for the first time only a couple of days back and I immensely liked both the tune and the orchestration. Both the prelude and interlude orchestrations enhance the mood of the song. Another innovative use of the orchestration is instead of the short ‘musical fillers’ in-between lines of the song, there is what I would call it as ‘extra interlude’ orchestrations after the first four lines of the antara of the song to avoid monotony of the repeat of the lines thereafter.

With this song, only two songs from the film remain to be covered on the Blog:

1. Mai-e-gulgun hai jawaani hai by Rajkumari Dubey and Hamida Bano

2. Jaaniyaan maano hamri rasiya maano hamri by Hamida Bano

Audio Clip:

Song-Baamna ki chhori dil le gayi (Main Kya Karoon)(1945) Singers-Ninu Mazumdar, Hamida Bano, Lyrics-D N Madhok, MD-Ninu Majumdar

Lyrics

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya

gaagri utaaye jaaye
gaagri utaaye jaaye
pag to le
o kamar do bal khaaye
jaadu bhari aankh rang hai gora
jaadu bhari aankh rang hai gora

ho o o o
hans hans ke moh liya man mora
ho o o o
hans hans ke moh liya man mora
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

jaat begaani biraadari ka dar
ho ham pe lagi hai jaani sab ki nazar
pyaar mein biraadari na jaat koi
ho neh laga liya jo wo kare so hoi

jaat begaani biraadari ka dar
ho ham pe lagi hai jaan sab ki nazar
pyaar mein biraadari na jaat koi
o neh laga liya jo wo kare so hoi
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o
baniye ka poot jiya le gaya..aa
baamna ki chhori dil le gayi
ho o o
baniye ka poot jiya le gaya..aa


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4788 Post No. : 16544 Movie Count :

4504

Today’s song is from the film Pratigya-1943.

In HFGK the name of the film in Hindi is correct-” प्रतिज्ञा ”, but in English it is written as ” Pratigya “. I do not understand why it could not be written correctly as ” प्रतिज्ञा “. Even film Sant Gyaneshwar-1940 had the same problem. In Hindi it is written correctly, but in English it is Gyaneshwar. Some English language scholars must solve this puzzle. My guess is, because in colloquial Hindi language ज्ञ is pronounced as ग्य . Like ग्यान for ज्ञान . HFGK must have opted for this spelling. It is funny – in Hindi it is written correctly, but in English, this way. If it was the other way round, I could have understood, since colloquial Hindi is Gya. I can’t somehow digest this awatar of English words !

Film Pratigya-43 was made by Chitra productions and was directed by Nandlal Jaswantlal. He was one of the few foreign trained directors of Hindi films. Unfortunately, he died quite young and suddenly. The music director for this film was Ninu Majumdar ( it is not mentioned in HFGK, but Harish Raghuwanshi ji has confirmed it). Incidentally, his father was also working in this film. The cast of the film was Motilal, Swarnalata, Baby Meena (Meena kumari), Veena Kumari, Nagendra (Ninu Majumdar’s father), Hari Shivdasani (father of Babita), Bhudo Advani, Majid etc.

Motilal was one of my favourite actors because his acting was so natural and casual. In the film industry, there were few other actors too like – Ashok kumar, Balraj Sahni, Sanjeev Kumar etc. of course the senior most and the first such actor was Motilal. While his first film Shehar ka Jaadu came in 1934, Ashok Kumar’s first film Jeevan Naiya came in 1936. Initially Ashok Kumar’s acting was not natural, it was very awkward. He did not know what to do with his hands. Because of this dilemma, his acting became theatrical. However in his 13 th film-Naya Sansar-41 in which his role was of a Journalist, he had to smoke in the role. This actually solved his hand’s problem completely and from this film onwards his acting became mature and very natural. But the ‘cigarette in hand’ became his trademark in almost every film.

Motilal started his career in Sagar Movietone.In his first film his Heroine was a senior actress Sabita Devi. Their pair became so popular that they acted in 10 films together. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, was Lure of the City (aka Shaher ka Jadoo) which released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.

This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Sudhama Films in Ap Ki Marzi (1939) and Minerva’s Prarthana (1944).

Motilal earned millions and spent millions. He loved a good life. He was fond of good food, good clothing, good wine and a Royal lifestyle. He played on Race course and had few Race Horses too. He was the first actor to have his own small aeroplane. He had a Pilot’s licence. However, in his last days, he lost everything and became a pauper.

” A broken and a defeated man, he did not live to see the release of the one film he produced. ‘Chhoti Chhoti Baaten’ (1965)– a very close autobiographical presentation of his own life, turned out to be a production disaster for him. The loss of finances and assets may not have meant much to him, but it was the turning away of the ones he considered to be lifelong friends that probably broke him completely.

Near the end of his days, he was suffering with health problems, and was in the hospital. His pet project ‘Chhoti Chhoti Baaten’, was nearing completion, but the remaining work was moving very slowly due to financial and other difficulties. Anil Biswas, whom he had given the music composition responsibility, was those days in Delhi, working for All India Radio. He came to visit Motilal. In the hospital, Motilal implored Anil Biswas to complete the music for the film, so that it could be made ready for release. Anil Biswas responded, almost heartlessly, asking to be paid for the work that was already done and for the remaining work for background music. Motilal was stunned. And then he passed away a few days later. The work on the film was eventually completed through the efforts of Mukesh, his cousin, who convinced Anil Biswas to complete the work on the film. The film got critical acclaim and also won a special certificate of merit from the President of India, as part of that year’s national awards. Alas, but he himself was not around to see it.” ( an extract from Sudhir ji’s post, with thanks.)

In the cast of this film there is a name Veena Kumari. Today’s song is also sung by Veena Kumari and Amirbai Karnataki. We all know that there was another famous actress Veena in the same period. Here is a fresh case of ” SAME NAME CONFUSIONS “. In my first book, released in 2018, I had clarified about 56 artistes coming under the SNC category. In the last one and half years I have discussed 14 such new artistes and including today’s case, there will be 16 artistes. The total comes to 72 and surprisingly there are 36 Males and 36 female artistes in this group, so far. However, I feel, as the time passes by, there are still few more cases yet to come to light and that, finally in this, the females will outnumber the males in numbers.

One of the reasons for this could be that in the early era, actresses came from Muslim Tawayef families or even poor families. In such families, the girls’ names were pretty common – like Nurjahan, Zubeida, Khurshid, Naseem or Shameem etc. Those who came first in films kept their original names, others had to change their names. But even then, the limited stock of names created problems. For example, Khursheed Akhtar changed her name to Shyama, but there were already 2 Shyamas working in films. One more example was today’s case. Originally Nurjahan, changed name to Veena Kumari, but there was another Veena working in films.

The trouble with same names is when you want to write about them, their Filmography is mixed up. Secondly, most sites, blogs and Fb pages invariably mix up even their Bio data, in addition to Filmography. My B.P. goes up when I see this . Whenever possible, I try to give explanations to make corrections, but every time it is not possible. Further they quote from sites like Wiki and IMDB, who are the major culprits in creating, sustaining and nurturing the same name confusions.

Anyway, let us now see who this Veena Kumari was. Her original name was Nurjahan. Her father was a landlord in Lucknow. She was born in 1916. As per customs of those times, she never went to school, but being well to do, got private tutors and she learnt Urdu and English sufficiently to read and speak. She was a typical good looking girl. She was very fond of seeing silent films with her father. When the Talkie films started, her interest grew much more and she decided to join films. She was a natural good singer too and this helped her get into films.

Her first film was Inteqam-33, where she worked without any fees. Here she was credited with her real name Nurjahan. In the 1939 film Swastik, made by Mohan Pictures, she became the Veena kumari-heroine of Jeevan. She continued working in films like Radhika,Asra and Kasauti- all 1941, Gharib and Zevar in 42, pratigya, masterjee and Chiragh in 43, Mujrim-44, Gunjan and Shauhar in 48. Shauhar was made by her own banner-Dil-Sitan arts. The film was directed by her. Her last film was Basera-50. She sang 22 songs in 7 films. She was quite good at singing. When you hear her today’s song, you will agree with me.

Now let us see what proves they were 2 different persons. Firstly, Veena Kumari started her career much earlier than Veena. Secondly, Veena started acting in Punjabi films in 1941 only and then came to Bombay for film Yaad-42, Najma-43,Rajputani-44, Humayun-45 etc. Thirdly, Veena kumari was a B grade actress and her films were made by smaller banners, whereas, from the beginning, Veena was in the Big league of Mazhar khan, Ranjit, Mehboob, Kardar, K.Asif, Minerva etc. Fourthly, Veena kumari stopped working in 1950, while Veena continued till 1983. The most important point was, Veena could not sing, whereas Veena kumari sang 22 songs in 7 films. All this clearly separates them as different actresses.

Veena acted in about 100 films in her 40 years’ career. Her Biodata is available freely on the Internet as well as on this Blog. So much for the Same Name Confusion in this case.

Now let us listen to today’s song. With this song, film Pratigya-1943 makes its Debut on this Blog.


Song- Hum kidhar chale ri sakhi hum kidhar chale (Pratigya)(1943) Singers-Veena Kumari, Amirbai Karnataki, Lyricist- Unknown, MD- Ninu Majumdar
Both

Lyrics

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
is dagar kabhi to kabhi us dagar chale
is dagar kabhi to kabhi us dagar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

barsaat ka din hai
saawan ka maheena
barsaat ka din hai
saawan ka maheena
ban ban mein bajaati hai koyal ?? veena
barsaat ka din hai
saawan ka maheena

pyaar ke mausam mein sakhi hum kidhar chale
is pyaar ke mausam mein sakhi hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

aa main tujhe le chaloon saajan ki nagariya
aa main tujhe le chaloon saajan ki nagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
tujh to milegaa tera saajan ?? tale
tujh to milegaa tera saajan ?? tale

hum jidhar chale
hum jidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale
hum kidhar chale ri sakhi
hum kidhar chale
le chali taqdeer jidhar
hum udhar chale


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4457 Post No. : 15935

“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.

This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their creations could be used without any need to pay any royalties to their descendants.

Three songs have been covered in the past.

Here is the fourth song from “Gopinath”(1948) to appear in the blog. This song is sung by Shamshad Begam. Rammurthy Chaturvedi is the lyricist. Music is composed by Ninu Majumdar.

Audio as well as video of the song is available. The video has the word Latika printed over it. I wonder if that tells us the name of the lady lip syncing the song. One can see a very young Raj Kapoor playing the patron of the lady.

Video

Audio

Song-Bahutero samjhaaya ree laakhan baar(Gopinath)(1948) Singer-Shamshad Begam, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

aa aa aa aa aa
aa aa aa aaaa
aa aa aa aa
aa
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar
ho laakhan baar
ho laakhan baar
laakhan baar
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar

laakh kahi mori ee ee
laakh kahi mori
ek nahin maani
ek nahin maani
ek nahin maani
laakh kahi mori ek nahin maani
samajh samajh pachhataayo ree laakhan baar
samajh samajh pachhataayo ree
samajh pachhtaayo ree
samajh pachhtaayo ree
laakhan baar
bahutero
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar
ho laakhan baar
ho laakhan baar
laakhan baar


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4249 Post No. : 15468 Movie Count :

4262

Today’s song is from film Amanat-43. There were 4 films with the same title, made in 1943, 1955,1975 and 1994. The films of 1955 and 1975 have already been yippied on the Blog. Amanat-43 makes its Debut with today’s song. The song is sung by Tara Harish.

When I had heard this name first time, somewhere in the late 40s, I had thought that this was some lady’s name. Later I thought that it was a joint name of two persons – one female and one male. However, after I read about ‘him’, his name mystery was solved. Harish, also known as Tara Harish, was born on 23-10-1916 at Delhi. His real full name was Tarachand Anand Biharilal Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established.

His first foray into films was in film ‘ 300 days and after ‘-38. In this film, however, he was uncredited. He got roles in other films like Postman, Ladies only, Service Ltd, Hum,Tum aur Voh, Ek hi Rasta, Civil marriage, Aurat, Nai Roshni, Vijay, Haqdar etc etc. He used to sing also in the films. As a Hero his last film was Amanat-43.

Harish took up Direction with film Beda Paar-44, a stunt C grade film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are Toote tare-48, Ustad Pedro-51, Malhar-51 ( originally Harish was to be the hero, but he gave chance to Arjun), Daku ki ladki-54, Lalten-56, kali Topi laal rumaal-59, Do Ustad-59, Burmah Road-62. His last film, as a Director, was Awara Abdulla-63.

Harish acted in 21 films. He sang 39 songs in 16 films ( stats by MuVyz). He established his own production company- Omar Khayyam Films. When he was directing film Ustad Pedro-51, he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name- Nasrgis- was existing already in films.

Tara Harish died sometime in 1970.

Film Amanat-43 was made by N R Desai Productions and it was directed by Lalit Chandra Mehta. Earlier, Mehta had directed 2 films, namely, Nai Roshni and Lalaji, both in 1941. After Amanat-43, he directed one more film- Azadi ki raah par-48, before disappearing from films, as I did not find his name in any film later on.

The film had music by Ninu Mujumdar. There were 8 songs, written by Neelkanth Tiwari, MA. This Sahitya Academy award winner hailed from Madhya Pradesh. He was a very well known poet and a writer and was highly respected in film industry. He was a friend of Dilip kumar and Kishore kumar. He even acted in films like Nirdosh and Apna paraya in 1941. Both films were made by National studios. Tiwari also tried his hand at singing a song in film Nirdosh-41.

As a lyricist, he wrote 140 songs in 36 films. His last film as a lyricist was Hameer Hath-64. First song of Mukesh-“Dil hi bujha hua ho” from film Nirdosh-41 as well as the first yodelling song of Kishore kumar from film Adhikar-54 were written by him.

In addition to film songs, he also wrote many Jingles for advertising companies, for various products. After films he returned to M.P. and continued writing. He died on 11-2-1976, leaving behind wife Rama Devi, 2 daughters and one son.

The cast of film Amanat-43 was Harish, Husn Bano, Sankata Prasad, Bhudo Advani, Jyoti, Dulari, Nawab, Master Badri and many more. Actress Jyoti, besides acting in the film had also sung 2 duets in the film, one with the composer Ninu Mujumdar and the other with Dulari. This Dulari does not seem to be the one who acted in film Shehnai-47 and on whom the famous song “aana meri jaan Sunday ke Sunday” was filmed. She also became a popular character artiste in later films. She could neither sing nor dance, according to her interview published in Blog Beete hue din run by Shishir krishna Sharma ji. This singer Dulari may be Shama Dulari who later on had a 3 year contract with Shalimar Pictures, Poona and acted/sang in 3 of the films under this banner. Before Amanat, she seems to have sung songs in film Jhankar-42 also.

JYOTI ( real name Sitara Begum) was born in 1921 in a professional singer’s house in Agra-UP. Waheedan Bai was her elder sister. She was Nimmi’s aunt also.
She grew up in a musical atmosphere. She learnt the classical music of Agra Gharana.
Her entry into films was easy due to elder sister already being in films. Anil Biswas gave her first opportunity in Comrades-39 to act and sing 2 solo songs.
Then came Ek hi Rasta and Sadhana. She had done also Uski tamanna and Bhole Bhale in 1939.
Actually, she became famous after Aurat-40,in which she had 5 songs. Same year Pooja and Sanskar also added to her fame. In Sanskar,she sang with sister Waheedan Bai and also with Harish. Thus 1940 was a very lucky year for Jyoti.
In 1941,Darshan and Radhika, Jawani-42, Amanat-43. During 1942, there were rumours of bombing in Bombay. Jyoti got scared and stopped working for about 3 years. After much cajoling by Mehboob and Kardar she started working in 1945. Thus films Devar and Saathi in 46 saw her in films.

Her voice had some resemblance to Parul Ghosh. She was not a great singer, but Anil Biswas supported her very much.
Jyoti was married earlier, but her husband had left her. In Bombay she fell in love with G M Durani.
She married G.M.Durani-MD,Singer and Actor. Their married life was happy and long.
Jyoti acted in 19 films. Her last film was Sati Vaishalini-59. She sang 38 songs in 12 films. Her last songs were in film Devar-46.

Today’s song is sung by Harish. I have listened to other few songs of this film, but the music was very disappointing. This must be Ninu Mujumdar’s poorest film music easily. I selected this song as I felt, this was the best among other songs. After listening to this song, you can imagine about other songs.

(Audio video not available on Youtube – This is another site audio mp3 song)
Audio – Mp3 Link
Click Here – Chhoo gayi Chhoo gayi koi mera.mp3
Song-Chhoo gayi Chhoo gayi koi mera mann (Amaanat)(1943) Singer-Harish, Lyricist- Neelkanth Tiwari, MD- Ninu Mujumdar

Lyrics

Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera mann

mere hi honthhon se murli banaay ke
mere hi honthhon se murli banaay ke
koi baja gayi mera bhola mann
murli bana gayi koi mera mann
chhoo gayi

praanon mein bhar gayi koi nayi dhun
praanon mein bhar gayi koi nayi dhun
kaanon mein bhar gayi nayi run jhun
kaanon mein bhar gayi nayi run jhun
sapnon se
sapnon se
sapnon se bhar gayi mere nayan
murli bana gayi koi mera mann
chhoo gayi

soyi thhi mere aangan mein raat
soyi thhi
soyi thhi mere aangan mein raat
aayi wo kirnon ki le kar baaraat
aayi wo
aayi wo kirnon ki le kar baaraat
kamal sa khil gaya
kamal sa khil gaya angna ??
murli bana gayi koi mera mann
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera man
Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4243 Post No. : 15461 Movie Count :

4260

Today’s song is from a Stunt film- Black Out-1942. This was produced by Standard Pictures, Bombay, The film was directed by a veteran- Nari Ghadiyali. Music was by Ninu Mujumdar and Behram Irani. Songs were written by Wahid Qureshi. The film cast consisted of Benjamin, Shobha, Mukhtar, Bibi, Nazira, Sardar Mansoor, Ali, Habib, Bachhu Saoji, Sadiq Ali and many others.

When I read the film’s title, I thought it was based on some war story, because in 1942, there used to be Black Outs in major cities of India, due to fear of bombing by the enemies. In 1942, the second world war was in full force. However, later I found that this film had nothing to do with war and that it was a simple stunt film.

All stunt films had almost the same pattern of story. The only distinguishing factor was the variety of the stunts performed in the films. It depended upon the actors. The director and the cast of film Black out indicated loudly that the team of actors was that of a stunt film. This was clear, because the stunt films had a set of actors and actresses, as well as directors who were specialised in this Genre of films.

In this world, crime takes place only for 4 things. 1. Power, 2. Money, 3. Sex, and 4. Revenge. Stunt films from the 30s to the end of 60s were based only on Money and Revenge. It is only when the complexion of the Indian society changed, then the stunt/action films were made on Sex and Power. Not till then. And nowadays, the word ” Stunt films” is gone for ever. Now such films are called ‘ Super Action Films’ – where the ‘ action ‘ is not by the actors, but managed by the SFX Team (special effects team) !

I have not seen this film myself, but after reading its story synopsis from the film booklet, I find that actually, it was a social film – action and stunts coming only occasionally and they seemed to be incorporated as an afterthought.

Here is the film story:-

Ramesh (Sadiq) has designs on his brother, Dhirjlal’s (Ali) vast wealth which, according to his will, the old man is leaving half to his son Vasant (Sardar Mansoor).
Vasant and his sister Bimla (Shobha), have both been raised in luxury, but while Bimla was a worthy child, Vasant was spoiled and, unknown to his father, a drunkard and a gambler. Ramesh devises a scheme to make his brother realize what kind of a son Vasant really is, in an effort to get Dhirajlal to disown him.

But Vasant has fallen in love with Radha (Mukhtar), the divine daughter of an old employee of Dhirjlal’s. Radha tried to persuade Vasant to end his wicked ways, and because their love was so strong, Vasant became a changed man. Ramesh realizes he needs to up his game, and he hires a group of accomplices, led by a beautiful girl (Bibi), to trick Vasant into appearing in a suggestive photograph to show that he is of loose moral character. Surendra (Benjamin) and his pal Bagla Bhagat (Mehndi Raza) come across this scenario in which Vasant is to be framed, and they attempt to help him out of it, but not before the incriminating photo has been snapped.

Vasant pleads with Surendra to help him get the photo back, and Surendra puts on a disguise, reaches the den on a motorcycle, and succeeds in retrieving the photo, but not without a fight which also involves Bagla Bhagat and Vasant.

Seeing Vasant in jail due to the fight, Dhirjlal prepares a new will, excluding his son. Vasant learns that this was all the work of his greedy uncle and he makes this accusation in the face of his father, who angrily throws Vasant out of the house.

According to the new will, Ramesh becomes the recipient of half of Dhirajlal’s wealth, but Dhirajlal intends to change this after two years time and put Vasant back in the will.

Ramesh makes a plot to stop the will’s revision and Surendra and Bagla Bhagat help Vasant to frustrate the uncle’s plans. All is well at the end.

Shobha has done the role of a side heroine- Bimla in this film. Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20+ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-57 etc. was her daughter. Lata did a good role in Bees saal baad-62. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in film Bhoot Bungla-65.

Another interesting actor is Sadiq Ali, who became a regular in stunt films in the 40s, but prior to this, he was with Minerva Movietone. Sadiq Ali, was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his Engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s Drama company. When the company was closed, he joined The Burma Imperial film company at Rangoon. After few small roles, he came down to Bombay.

After working in some smaller companies, he joined Minerva Movietone. Starting with khan Bahadur-37, he worked in Minerva’s Pukar-39, Sikandar-41, Phir Milenge-42, Prithwiraj Sanyogita-43, Parakh-44 (only directed by Modi) and Ek din ka sultan-45, also in Sandesa-39,Black out, Duniya tumhari hai, Phir milenge, Ulti Ganga, Patharon ke saudagar,Jagbeeti,Nishana, Do Naina, Manjhdar, Mitti etc. In all he acted in 23 films. His last film was Ever Ready-46. After partition, he migrated to Pakistan.

First film in Pakistan Judai-1950, Shaheena-50, Nazar and Zeenat-51. Other film Shola (1952).

Sadiq Ali was a very successful and famous actor before partition and got the title of Prince of Minerva. He acted in many films in India, but in Pakistan, Sadiq Ali could not be successful as he was in India.

He was paralyzed in 60’s and could be seen sitting with Pan shop in Capitol Cinema lane, Karachi. He died on 12-7-1977 in Karachi. In his last days, he was seen begging on road.

Today’s song is a fun song, sung by film’s Music Director Ninu Mujumdar. The duet also has Rehmat Bai as a lady singer. Rehmat bai aka Rehmat bano was a professional singer from Lahore. Not much is known about this singer.

Ninu Mujumdar was a talented composer, but his career graph did not go up noticeably.

Ninu (Niranjan) Majumdar was born on 9-9-1915 in a Gujarati Nagar Brahmin family of Baroda (Vadodara). Ninu was a pet name that he became famous by. His real name was Niranjan, which he later used as a pen name in his Gazals. His father, Nagendra Mazumdar made silent films. He was also a Music Director and Lyricist in his times. Ninu Majumdar’s name is variously written as Mujumdar, Muzumdar, Majumdar and Mazumdar.

After the early influence of Faiyaz Khan, Mazumdar’s search took him to various routes and he studied different kinds of music before he came into his own to become one of the first Gujarati Sugam Sangeet (light music) singer. He soon graduated to composing his own music and writing songs. Apart from classical music, the earlier influence was also of Ravindra Sangeet. This was at the time when Bengali language enjoyed prestige among Gujaratis of a kind that was comparable to the status of French among the English speaking nations. He grew out of it in a few years.

The more lasting influence on his music was that of folk songs and semi-classical music of Uttar Pradesh (U.P.) like the Hori, Chaiti, Barkha Biraha as well asThumri and Dadra. He learned these during his stint in U.P. where he did farming for some years and also kept in touch through association with people like Satyendra Trivedi, a connoisseur of music and the “Thumri Queen”, Siddheshwari Devi, a family friend and his wife Kaumudi’s Guru.

Ninu’s ambition, even when he started his schooling in music at Baroda, was to become a music director in films. From 1937 onwards he participated in light Gujarati musical programmes. He also produced several features for All India Radio. From 1954, Mazumdar worked with all India Radio in Mumbai for over 20 years as Light Music Producer. He would have liked to take part in Hindi programmes too but the shortage of Gujarati artists forced him to concentrate on programmes in that language.

When in charge of music for the newly launched Vividh Bharati, that had to compete with Radio Ceylon without using any film music (film music was not played on AIR for several years due to conflicts over contracts and royalties), he successfully produced programmes inviting Salil Chaudhary, Kanu Ghosh and others from Bombay Youth Choir or IPTA and using voices of Manna Dey and other well known artists. Later when the issue of royalties was settled between the film producers and AIR, Mazumdar was the first to produce the popular Jaymala Programme by interviewing eminent persons from the film industry.

A career in films was also cut out for Ninu Mazumdar, as his father, Nagendra Mazumdar, was a dramatist and film producer. Nagendra was not much of a musician but he imparted his son training in music from the very early days.

Ninu found the field restricted, in a way in films, because of the need of working at a very fast pace and with view to pleasing the majority among the public. Ninu tried to introduce a new trend in film music, that of, adding a classical touch by borrowing from the old masters like Surdas. These attempts met with considerable success in Gopinath, a picture in which Ninu had interest as a producer as well.

It was in films made in the forties that a young Ninu Mazumdar’s voice could be heard. He sang with Sardar Akhtar in “Uljhan”, with Amirbai Karnataki in “Paristan” and Meena Kapoor in “Gopinath”.

He provided music for Jail Yatra-47 and Gopinath-48, two of the earliest Raj Kapoor films. It is well documented by now that the Yashomati Maiyase Poochhe Nandlala song in RK movie Satyam Shivam Sundaram is a direct lift from Mazumdar’s Aai Gori Radhika in Gopinath.

He also composed music for several Gujarati Films like “Jeevano Jugari”, “Okha Haran”, “Sharad Poonam” etc.

He sang and penned quite a few of his songs. Amongst others who sang for him were Meena Kapoor, Shamshad Begum, Geeta Dutt, Suraiya, Hameedabanu, Pradeepji, C.H.Atma, Ameerbai Karnataki, Raj Kapoor, Shankar Dasgupta, S.D.Batish, Lakshmi Shankar, Talat Mehmood, Siddheshwari Devi, Rajkumar, Nalini Mulgaonkar, Dilip Dholakia, Ajeet Merchant, Shobha Gurtu, Sarla Bhide, Lata Mangeshkar, Asha Bhosale, Manna Dey, Kishori Amonkar, Usha Mangeshkar, Leela Mehta, Premlata Naik, Kishori Ghia, Suman Kalyanpur, Kaumudi Munshi,etc.

Vetern composer Ninu Mazumdar passed away on March 3 2000. Some of his songs have become so popular that people often do not even remember who wrote or composed them.

He gave music to 19 Hindi films – Black out-1942,Amanat, Masterjee, School Master, Kiran, Paristan, Rangila Dost, Main kya karun, Gudiya, Jail yatra, Gopinath, Kuch naya, Aflatoon, Pul, Raj ratan, Ram Shastri, Teen Tasweeren, Bhai Saheb-54 and Punam ka chaand-67.

He sang 28 songs in 13 films and directed 1 film-Kuchh naya-48

His son Uday gave music to TV serial ” Buniyaad ” in the 80s.

With today’s song, film Black out-42 makes its debut on the Blog.


Song-Haay haay haay haay dil ko le gaya chor (Black Out)(1942) Singers- Ninu Mujumdar, Rehmat Bai, Lyricist- Wahid Qureshi, MD- Ninu Mujumdar
Both

Lyrics

Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
ab jaun main kis oar
ab jaun main kis oar
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
raat ko hamne kheer pakaayi
khaa gayi usko billi
raat ko hamne kheer pakaayi
khaa gayi usko billi
billi ko jab dhoondhne nikle
billi ko jab dhoondhne nikle
jaa pahunche ham Dilli
jaa pahunche ham Dilli
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor

Dilli mein jab khaana khaaya
jaage bhaag jawaan ke
Dilli mein jab khaana khaaya
jaage bhaag jawaan ke
saalan mein thhi mirchi itni
khul gaye dil ke taanke
saalan mein thhi mirchi itni
khul gaye dil ke taanke

Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor

Dilli ki jab sair ko nikle
mili hamen ek bandan(?)
Dilli ki jab sair ko nikle
mili hamen ek bandan (??)
aankh matkaa kar boli le do
mujhe sone ke kangan
aankh matkaa kar boli le do
mujhe sone ke kangan
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor
Haay haay haay haay
haay haay haay haay
dil ko le gaya chor


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3894 Post No. : 14930

“Jail Yatra”(1947) was produced and directed by Gajanan Jageerdaar for Jaageerdaar productions, Bombay. This “Social” movie had Gajanan Jageerdaar, Kamini Kaushal, Raj Kapoor, Harish, Bikram Kapoor, Badri Prasad, Sunalini Devi, Dixit, Ramlal, Hemavati, Pratima Devi , Sagar, Munawwar Khan, Rammurty, Satyanarayan, Ramlal, Shamlal etc in it.

The movie had eight songs in it. Two songs have been covered in the past.

Here is the third song from “Jail Yatra”(1947) to appear in the blog. This song is sung by Ninu Majumdar and Meena Kapoor. Sajjan is the lyricist. Music is composed by Ninu Majumdar.

Only the audio of the song is available. From the sounds of it, the song appears to be a dance song. Gajanan Jageerdaar , the hero of the movie, most probably lip synced in Ninu Majumdar’s voice. I am less sure about the lady lip syncing in Meena Kapoor’s voice. I request our knowledgeable readers to throw light on the picturisation of this song.

Audio

Song-O gori kahaan chali us paar (Jail Yaatra)(1947) Singers-Ninu Majumdar, Meena Kapoor, Lyrics-Sajjan, MD-Ninu Majumdar

Lyrics

o gori kahaan chali us paar
o gori kahaan chali us paar
chhod ke gaanvon ki bahaar
arri sun
mor bole ho
aeji mor bole
mor bole mor bole ho

rasiya jaaungi us paar
bulaate hain jagmag baazaar
rasiya jaaungi us paar
bulaate hain jagmag baazaar
man hamaar dole ho
man hamaar dole ho

gori rum jhum rum jhum baaje
saawan ki bauchhaar
gori rum jhum rum jhum baaje
saawan ki bauchhaar
rasiya chhoom chhananchhan baaje
rasiya chhoom chhananchhan baaje
paayal ki jhankaar
rasiya chhoom chhananchhan baaje
paayal ki jhankaar

hamaara hara bhara hai gaanv
hamaara hara bhara hai gaanv
aam ki thhandi thhandi chhaanv
arri sun mor bole ho
aeji more bole
mor bole mor bole ho


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3747 Post No. : 14709

“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.

This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their influence on Indian music scene can be seen from the fact that lots and lots of songs used in HFM and elsewhere were their creations.

Two songs from the movie have been covered in the past.

Here is the third song from “Gopinath”(1948) to appear in the blog. This song is sung by Meena Kapoor. Meera bai (1498-1546), who lived more than four hunndred years ago is credited as the lyricist. This is the 37th song in the blog that is “penned” by Meera Bai !

Music is composed by Ninu Majumdar.

Picturisation shows this song being lip synced by Tripti Mitra, who was the wife of Shombu Mitra- well known as director of “Jaagte Raho”(1956). The young girl visible in the picturisation should be baby Zubeida.

Audio

Video

Song-Main birhan baithhi jaagoon jagat sab sowe ri aali (Gopinath)(1948) Singer-Meena Kapoor, Lyrics-Meera Bai, MD-Ninu Majumdar

Lyrics

main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithhi jaagoon
jagat sab sowe ri aali

dulhan baithhi rang mahal mein
motiyan ki lad pove
dulhan baithhi rang mahal mein
motiyan ki lad pove ae
ik dulhan hum aisi dekhe
ik dulhan hum aisi dekhe
ansuwan maala pove ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali

taare gin gin rain bihaani
sukh ki ghadi kab aave
taare gin gin rain bihaani
sukh ki ghadi kab aave ae ae
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
jab unhen darash dikhaave ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1338
Total Number of movies covered=4642

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